An outdated film with few grace notes

Marutha is the most recent proof of how a movie that’s banking solely on its idea can by no means be saved if the writing and filmmaking are insufficient. The movie revolves across the follow of Seimurai, standard within the southern districts. It’s just like the follow of giving moi panam at a household occasion, however right here, the reward (most in money) is given to the host in order that they’ll maintain a household occasion. The movie begins with a corny epilogue of how this follow might need come into impact, as technique of a neighborhood coming collectively to assist a fellow member, and the way it has developed right into a matter of satisfaction for the events involved.

The story revolves round Kaali (Viji Chandrasekar, manner over-the-top, in a sometimes-good-and-sometimes-bad manner), a brash, money-minded, who’s a Shylock of kinds with regards to making certain that the individuals who she had finished the seimurai return the favour, and her sister-in-law Meenakshi (Radikaa Sarathkumar, dignified), who has grow to be the topic of her taunts for her lack of ability to take action. Egged on by a fractious relative (Vela Ramamoorthy), Kaali’s husband Maayan (Saravanan, whose character vanishes at times throughout essential scenes) had given an enormous quantity as seimurai for his sister Meenakshi’s household occasion, and unable to do the identical, her husband (Marimuthu, an prolonged cameo) had ended his life. Twenty years later, with a son, who’s a wastrel, can Meenakshi acquire again her dignity when Kaali organises a seimurai to rearrange the marriage of her daughter Amuthavalli (Lovelyn Chandrasekar, misplaced)?

That is positively a good-enough premise for a compelling drama on the destroy that patriarchy and misplaced satisfaction can result in, however with writing and filmmaking that could be higher suited to the Nineteen Eighties, GRS turns Marutha right into a loud, overlong and tiresome drama. That is the sort of movie which makes use of the visible of two crops inclining on one another to point that two characters are getting intimate, and dialogues which have similies in virtually each alternate line. Pattern this: Udambellaam veshatha kakkara naagam kooda maanikatha kakkum aana maanikkama irukka vendiya en pulla ippadi veshatha kakkarayae!

It’s left to Ilaiyaraaja’s rating so as to add punch to the flat scenes and the maestro does his bit, however even this solely helps to make the movie only a bit serviceable. Solely a few moments — a seimurai within the flashback, and the occasions that occur throughout a seimurai within the climax — handle to interact.